Le sourire de Mona Lisa

This was a decent period drama, and while it ticks most of the right boxes it never quite convinces. For one thing, while the story focusing on feminism in the 1950s is on the whole intriguing, there are parts when there is not a lot going on, causing occasional pacing problems. While there are some delicious lines from Julia Roberts and Kirsten Dunst especially, the screenplay wasn't as intricately crafted as it could have been and fell into the danger of being too stereotyped. Mike Newell's direction is able, and while the transition from tradition and progression clashing is well captured, it is sometimes too overly simplistic so the film doesn't quite give enough authenticity.

Despite these flaws, there is still a lot to recommend it. The film is very well made, with dazzling cinematography and picturesque scenery. And the costumes, hairstyles and makeup were beautiful. The music is lovely, very pleasant and soothing. Making the most of their rather stereotypical characters, the actors acquit themselves well. I admit it, I don't often care for Julia Roberts, but here she makes for a sympathetic lead as the unconventional art lecturer and does it more than adequately. Solidly supporting her as the students are Julia Stiles, Maggie Gyllanhaal and Kirsten Dunst especially. The film is ably directed too, and is emotionally manipulative, not in a bad way though. All in all, it is a very earnest and well made film, but as a drama it doesn't quite convince as much as it should've done. 7/10 Bethany Cox

Another film about a progressive teacher trying to teach her students how to think outside of the box. Fortunately, unlike School of Rock, my views on which were accosted last week, I left Mona Lisa Smile mostly satisfied with what I had seen. No, it's not especially revelatory or surprising. You can more or less guess what's going to happen to each character by the end. But it does leave a little more room for characterization, for slightly unexpected outcomes, and it doesn't telegraph its moments quite so rigidly as the Linklater film. Julia Roberts is an actress about whom I feel nothing; I neither like nor dislike her. I think this is one of her better performances, certainly much better than her Oscar winning role in Erin Brockovich. She plays the progressive art history teacher, who arrives at Welsley to learn that all of her students have already studied the textbook from cover to cover, and can answer any question that might arise from the class's current syllabus. The curriculum and Roberts' superiors are strict in what they want to teach about art, but Roberts veers towards teaching what the textbook will not despite them. The superiors are unhappy with her course, but some of the students are opened up to the experience. Outside of class, Roberts faces as large a challenge. Most of her students have completely resigned to the idea that they are destined for marriage and nothing more. The status quo must be challenged. The students are a nice range of characters. Kirsten Dunst plays the most conservative, who is about to be married when the film opens. She, of course, rejects Roberts' ideals. On the other end of the spectrum is Maggie Gyllenhaal, who is the sexually promiscuous girl who idealizes her teacher. Slightly left of center is Ginnifer Goodwin and right of center Julia Stiles. These four characters are set up very mechanically, of course, but the characters succeed (and this can be said about all of the other characters of the movie, including Roberts', who are all rather mechanical) on the quality of acting. Each of the performers are wonderful. They manage to make you care, which is something that didn't happen with School of Rock, whose performers (with the one exception of Joan Cusack) were adequate or worse. I especially loved Marcia Gay Harden, giving another one of the best performances of 2003, as Roberts' roommate, who teaches etiquette. She's a pathetic, tragicomic image of what some of the girls will become if they insist that the traditional concept of womanhood remain unchanged. The film also boasts exceptional technical qualities. It's simply very well made. 8/10.

I didn't expect much going into "Mona Lisa Smile". I figured it was going to be a rehash of all the movies ever made about teachers. You know, from "Goodbye Mr. Chips" and "The Prime of Miss Jean Brodie", to "The Dead Poets' Society" and "Mr. Holland's Opus". But "Mona Lisa Smile" pleasantly surprised me, especially the uncompromising, principled ending.

Another thing that pleased me was the film's assumption of an intelligent, educated audience that does not require any dumbing-down of art and culture. "Mona Lisa Smile" rattles off names of artists and their works as if it fully expected moviegoers to be conversant with them. In at least one case, the film names neither the artist nor the work (Picasso's "Demoiselles d'Avignon"). All of these things are taken as givens, as part and parcel of a sophisticated audience's cultural baggage -- quite a change from the usual pap that Hollywood spoonfeeds us!

Moreover, the film sometimes speaks volumes by what it doesn't say but simply shows, taking for granted that we will fill in the blanks from our knowledge of the history of the period (that is, the early 1950s). There is one oblique reference to McCarthyism. A photo of an atomic explosion reminds us of the post-WWII, Cold War era. A game show on TV triggers a memory of the payola scandal. Again, "Mona Lisa Smile" credits us with brains rather than insulting our intelligence.

Mercifully, the title of the film is not simply a reference to Julia Roberts' famous beestung, collagen-enhanced lips. As Kirsten Dunst's character explains toward the end of the movie, Mona Lisa's smile is not necessarily an indication that she is happy and content -- any more than the women of the 1950s with their dream homes and seemingly perfect lives. "Mona Lisa Smile" is ultimately an indictment of those in society who perpetrate and perpetuate secrets and lies, and a tribute to those through whom the truth prevails.

This is the kind of movie that is easy to pan, but deserves better. Yes, the premise is familiar, the plot is formulaic, the characters seem like you've met them before.

But...

"The devil is in the details," as they say, and this picture has just enough surprises, just enough charm, just enough fine acting to make it worth watching. Movies do not have to be real to be worthwhile, they just have to be about real things. The questions "Mona Lisa Smile" covers are still very much with us, and may provoke considerable discussion in your house. This film is respectful enough of its subject matter and well-enough executed to make it a much better way to spend your time than most of what's out there now. Don't believe the sourpusses, this one's a good'un.

I attended a women's college and found that even though this movie takes place in the early 50's, I could relate to it. Women are still struggling with finding their place in society and this movie speaks to all generations, not just those of the 1950s. The relationships that the students had not only with each other but also with their teachers were portrayed very realistically. This movie is not without flaws though, I didn't particularly like Kristin Dunst, but that is because I believe she overacts in many of her movies, but I was very moved by Julia Stiles, Maggie Gyllenhaal and especially Ginnifer Goodwin. Worth watching.